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espanolDurante el siglo XIX la musicalizacion de textos liricos espanoles del Siglo de Oro en forma de lieder romanticos por parte de compositores de habla alemana (Beethoven, Loewe, Schumann, Jensen, Brahms, entre otros) sirvio para la difusion de un imaginario espanol que fue transformandose progresivamente conforme avanzaba la centuria y cuya evolucion es especialmente visible en la musicalizacion de los textos. La naturaleza de este intercambio, que afecta a dos artes y dos lenguas distintas y en el que interviene de forma decisiva la mediacion de los traductores, demuestra de un lado la importancia de canales de trasmision poco habituales en la difusion de textos literarios; de otro, que los mayores representantes del canon poetico en el pais de origen no fueron casi nunca los que tuvieron mas exito en las versiones del lied. Por otra parte, pareja a la moda musical espanola se genero una formula lirica que imitaba ciertos rasgos de la poesia castellana y se hacia pasar por tal en las versiones musicales de Weber, Mendelssohn o Schubert. La traslacion de materiales literarios al arte musical implica una relectura profunda de la tradicion poetica, hasta el punto de sumar a la traicion del traductor (‘traduttore traditore’) la del compositor. EnglishDuring the 19th century Spanish lyrical Golden Age texts were set to music as Romantic lieder by German-speaking composers (Beethoven, Loewe, Schumann, Jensen, Brahms, among others), a process that served to spread an imagery of Spain that underwent a gradual transformation as the century advanced, and whose evolution is particularly visible in the setting of the texts to music. The nature of this exchange, which affects two different arts and two different languages, and where the translators’ mediation plays a decisive role, shows on one hand the importance of less habitual channels of transmission in the dissemination of literary texts; on the other, that the greatest representatives of the poetic canon of the country of origin were hardly ever the most successful in the lied versions. In addition, parallel to this Spanish fashion in music a lyrical formula sprang up that imitated certain features of Spanish poetry and in fact passed as such in musical versions by Weber, Mendelssohn or Schubert. Rendering literary materials into music implies a deep rereading of the poetic tradition, to the point that the translator’s treason (‘traduttore traditore’) is compounded by the composer’s.

Poesía española del Siglo de Oro y lieder románticos alemanes: recepción lírica y transformación musical de la imagen de España